Thamma vs Ek Deewane Ki Deewaniyat: Controversy Over Theatres, Screens and Accusations

The week leading up to October 21 has turned unexpectedly dramatic for Bollywood’s box office. Two films, Ek Deewane Ki Deewaniyat starring Harshvardhan Rane and Sonam Bajwa; and Thamma starring Ayushmann Khurrana and Rashmika Mandanna, are ready to arrive in theatres on the same day. But before the battle for audience attention begins, a war of words has already taken over.

The makers of Ek Deewane Ki Deewaniyat have accused PVR INOX of favouring Thamma in screen allocation and show timings. With both films distributed under the PVR INOX banner in certain regions, the complaint has sparked an industry-wide debate on fairness, influence, and the balance of power between distributors and exhibitors.

Producers Cry Foul Over Screen Allotment

Anshul Garg from Desi Music Factory, who is backing Ek Deewane Ki Deewaniyat, claimed that his film is not being given equal treatment at cinemas. He expressed disappointment that despite the film’s successful music and commercial potential, it is being restricted to fewer screens and limited time slots.

He further said that his team chose the traditional theatrical route instead of relying on digital releases and expects fair play from cinema chains. According to him, the decision to restrict the film’s exposure undermines the passion and determination of smaller production houses that continue to believe in the big-screen experience.

PVR INOX Responds to Allegations

In response, PVR INOX Pictures CEO Kamal Gianchandani dismissed the accusations. He clarified that the company is only managing distribution in select territories for Thamma, while the majority is being handled directly by Maddock Films. He added that both films are being programmed on merit and that the company wishes to see both titles perform well at the box office.

PVR INOX maintained that their focus remains on balancing commercial potential with audience demand, and any suggestion of bias is unfounded. The company’s statement aimed to put an end to speculation, but the discussion has already caught public attention, raising questions about how show timings and screen counts are really decided.

The Numbers Tell Their Own Story

A quick glance at ticketing apps paints a clearer picture of the current situation. In Mumbai’s western suburbs, Ek Deewane Ki Deewaniyat is running an average of four shows per day at most PVR INOX locations. Only a few premium properties such as PVR Icon in Andheri are offering as many as six shows.

Meanwhile, Thamma enjoys a much wider presence. Across similar multiplexes, it has a minimum of five shows even in smaller cinemas and up to 15 daily shows in major hubs like Maison, Bandra. This scale reflects the film’s marketing strength and massive pre-release buzz.

For many, this disparity is not entirely surprising. A film backed by Maddock Films and starring a bankable duo like Ayushmann and Rashmika naturally comes with stronger marketing resources and audience anticipation. Yet, for smaller films like Ek Deewane Ki Deewaniyat, such imbalances can significantly affect visibility and revenue potential.

A Larger Conversation About Equity in Exhibition

This controversy has once again brought the exhibition sector under scrutiny. Independent producers often argue that the current system favours large studios and star-driven projects, leaving smaller titles to fight for limited screens. Even when a film has strong music or early audience interest, it can struggle to find sufficient showtimes during its opening weekend.

Industry insiders point out that multiplex chains often lean towards films expected to deliver higher occupancy rates. However, this practice can create a cycle where smaller films never get a chance to prove their worth because they are not given enough screens to begin with.

Whether or not PVR INOX’s alleged bias holds any truth, the debate underscores a larger structural challenge for theatrical releases in India. The rise of streaming platforms has already pushed mid-scale films to look for digital security. Yet, when producers like Anshul Garg decide to take the theatrical leap, they hope for an even playing field.

As October 21 approaches, the box office will determine more than just which film wins the weekend. It will test how much room is left in the theatrical ecosystem for multiple films to coexist — and whether audience demand can override industry politics.